Professor Sam Owens

In August 1899, an item published in the Sydney-based Deutsch-Australische Post heaped praise upon Wellington’s German residents: “for the energy with which – within the short timeframe of barely two years – they have brought their Deutsche Liedertafel into a state of such great prosperity that it must now be counted as one of the leading musical societies of Maoriland’s capital city.” A description followed of a recent “Grand Concert” given by this all-male choir under the patronage of New Zealand’s governor, Lord Ranfurly, to raise funds for Wellington Hospital. Alongside a selection of solos and chamber music (including a performance of Haydn’s ‘Austrian Hymn’ – aka ‘Emperor’ – Quartet), as reported in the local Evening Post, the event provided “Wellingtonians an opportunity of hearing songs of the Fatherland sung by natives of the Fatherland”.

The city could, in fact, boast of three Liedertafeln around this time: the Wellington Liedertafel, the Deutsche Liedertafel and the Orpheus Liedertafel. This paper will examine the role played by these men’s singing clubs in Wellington’s musical and social life in the years around 1900. In particular, it will investigate the extent to which their performances were perceived to be expressions of German nationalism and sociability (Geselligkeit), as well as considering issues of both class and gender (including contemporary debates concerning the introduction of women members).